Today on the site, Alex Dueben speaks with the great Ed Sorel about his long career and his latest book, Mary Astor's Secret Diary.
Why did you chose to draw the interior illustrations that you did?
The great thing about doing a book is that you can pick the scene you want to draw. There was one scene that I knew I had to do–her father attacking her because of what he considered her lack of ambition. I did a kind of strobe shot of his fist banging on the piano. I knew I had to do that even though it was a very difficult picture to do. Then there were the pictures that had absolutely nothing to do with the book that I did because I wanted to. There’s a picture of Tom Mix with some car that was made in Los Angeles that nobody knows about. I did it because it was fun to draw and I had a picture of it. The book was in my entire life this book was more a labor of love than anything I have done before.
I know that you went to art school, but you said earlier that you never studied life drawing?
Because it was impossible. I went into art school at the very time when drawing was considered rather old hat. The illustrations in The Saturday Evening Post were condemned as the lowest form of art, illustrated books stopped, the New York school of abstract painting was considered the acme of fine art. I graduated from Cooper Union in 1951. The good thing about it was there were plenty of jobs and the bad thing about it was that I still didn’t know how to draw. My drawing skill–which was not too bad when I was nine years old–had completely atrophied from going to High School of Music and Art and going to Cooper Union. The thing that was valued was design and abstraction. Which interested me not at all. And still doesn’t. Even though I started Push Pin Studios with Seymour Chwast and Milton Glaser, which was essentially a design studio. I did learn how to do design, but it never really interested me. What I loved was drawing.
You seem to have found a niche of doing illustration fairly early in your career, though. At least that’s how it looks from the outside.
I suppose. Some young people have an image of what they want to become very early in their life. All I ever wanted really was to have my own apartment. When I was a young man I didn’t care how I got the money to get my own apartment, but the truth of the matter is I wasn’t good at anything except drawing. Fortunately I was able to make a life for myself where all I had to do was draw pictures. I was a hack to start out with and gradually became something more than a hack. I regard my early years of working for agencies and working for magazines as being paid to learn. I did what was required and in the process learned how to draw.
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